Tag Archives: rheumatoid arthritis

Otto Kamensek’s ceramic sculpture will be exhibited in his end-of-residency show entitled “Shards, Bone Deep.” The exhibition, which opens the evening of April 17th and runs to May 8th, will be in the 3-D Gallery at the Port Moody Arts Centre. The centre is located at 2425 St. Johns Street, Port Moody, British Columbia.

On May 1, from 7:00-9:00 p.m, Mr. Kamensek will discuss “the release of pain, frustration, and stress through art” during an exhibition and studio tour at the Port Moody Arts Centre. Call (604)931-2008 to make a reservation for the tour or for more information. A $10.00 donation for talk and tour is suggested, with proceeds going to the OK Bursary.

“Art and Arthritis: Shards, Bone Deep,”

by Colleen Maloney

Otto Kamensek’s ceramic work has generated interest within the local art circles and the arthritis research community. Living with arthritis is reflected in Otto’s artistic expression and his work has led to invitations to present at community events and at national and international arthritis conferences. Last year, Otto earned a one-year ceramic artist-in-residence award at the Port Moody Art Centre (PMAC) to further explore his creativity. The residency gives him a private studio space and access to equipment in which to develop his craft. This year, his sculptures will be showcased in a solo exhibition titled, Shards, Bone Deep, a play on words relating to a piece of pottery or stone and the sharp ragged pain of arthritis.

Otto’s association with the PMAC and his involvement with the Arthritis Research Centre of Canada, as a member of the Consumer Advisory Board, coincided with the creation of what is now a series of pieces depicting the dimensions of arthritis. He explained that as a student of art history he wanted to “try” to meld his health experiences into his art in a meaningful expression of life with chronic disease.

“Chronic Disease Staircase”

The first piece in his exploration of arthritis, and one of the 12 pieces in his upcoming solo exhibition, is the Chronic Disease Staircase. It depicts a small figure on the bottom step of a multi-tiered staircase looking at risers that become progressively higher, while his shadow falls forward melting into the tip of the second step.

Otto says he knows the feeling of being overwhelmed because he’s been there; “It’s the end of the day, the sun is setting, and no matter what you have tried throughout the day, you’re still at the bottom of the stairs. It’s sheer frustration.”

His second piece, The Glimmer of Hope, was a turning point for him. It began as all Otto’s pieces begin with an idea and a sketch. But unlike other pieces that progress to the maquete stage and then on to the building of the ceramic sculpture, this piece came to a full stop.

“It is a very personal piece and it was difficult to construct because it required revisiting my past,” he explained. “I had to decide if I really wanted to do it because it seemed to be pushing me down rather than lifting me up.” It gives those without arthritis or chronic disease a glimpse at the ravages of the disease and its emotional impact.

The two biggest pieces slated for the exhibition are Bone Deep, a hand at just over two feet in height, and a three-foot high caricature titled The Fog of Fatigue.

The hand is exquisite in its detail and artistry. It shows the findings related to inflammatory and osteoarthritis including muscle, bone and tendons, and muscle wasting in the palm. On each finger is written the word arthritis. The letters on one of the fingers are fashioned to resemble bone.

“The Fog of Fatigue”

The caricature is my favourite. One look and you know it portrays fatigue; you know what it feels like to be constantly tired. And you know how fatigue can make it difficult to concentrate because it can cloud the mind. But one look isn’t enough. His work has many layers and a depth that goes unrealized with only a quick look. The Fog of Fatigue deserves concentrated inspection and is a must see at the exhibition.

Two of the other pieces in the exhibition are AnAngry Joint, and Arthritis Still Life. An Angry Joint demonstrates Otto’s talent for creating powerful, dramatic faces that capture the emotional and physical scars of living with a chronic disease. Although I am not an art critic by profession, I do enjoy all forms of art and explore art galleries during my travels. Based on the quality of his work and the important subject matter it depicts, I would like to see Otto’s work showcased in a major national gallery. It would prompt a discussion about arthritis and chronic disease in general.

Otto’s sculptures from his solo exhibition are not for sale. It is part of his commitment to promoting arthritis advocacy and will grow in size as time allows and ideas develop. His greatest wish is that the collection will be exhibited in other cities so that people can develop a better understanding of what it is like to live with arthritis.

There is sadness in his voice when he says that his residency at the PMAC ends on May 1st. “It’s been fun”, he says.

Otto and His Sculptures

The Glimmer of Hope is a sculpture that reflects Otto’s visual journey of pain. It portrays a man bent forward in a chair, his arms resting on his scar streaked knees and his body infused with spikes, nails and needles. Otto says he wanted to illustrate old rusty pain, sharp needle-like pain, and festering pain that seems to go on forever. At the same time he wanted to depict hope, maybe even trust, that something better was around the corner, hence the name TheGlimmer of Hope. And there was. His work is intricate and expressive and appeals to people with chronic diseases. It depicts how they feel and helps them to better translate their feelings. It gives those without arthritis or chronic disease a glimpse at the ravages of the disease and its emotional impact.

Arthritis Still Life is fashioned in the Flemish style, when artisans created pieces depicting possessions that illustrated prominent features of their lives and status in the community. Within this genre Otto has created an arthritis still life. It contains a table, and beside it is a raised chair and a cane. On top are all the items associated with arthritis treatment including a small splash of red that I will not reveal. You must see and discover the significance for yourself.

About Otto

In 1974, Otto was diagnosed with juvenile idiopathic arthritis — he was 9 years old. It was an era he refers to as the stone age of arthritis treatment. The disease brought changes to his body that necessitated changes in physical activity. When soccer was no longer an option, he turned to drawing and building models. In his 20’s and early 30’s, he worked as a buyer in the electronics industry; by his mid 30’s arthritis had played havoc with his body, resulting in hip and knee replacements and four long-term in-patient stays in a rehabilitation centre. Prowling the halls at night he discovered the rehab centre’s art studio, and, one day he ventured in. His life became much sweeter. Otto left the centre with paper mache masks tucked under his arms and enrolled in clay classes at the PMAC. This was the beginning of his affiliation with sculpture and his dedication to working with clay. In 2005 he collaborated with a friend to produce a ceramic sculpture title Joan of Art and won second prize at the Port Moody Society’s Wearable Art Show, a bi-annual event that attracts entries from around the world. Otto continues to mold his experience of living with arthritis with his artistic endeavours.

The new year approaches and, with it, change. Our delightful Pauline Doyle has served as artist-in-residence for three years running at the Port Moody Arts Centre, a first. She officially ends her tenure this year. We will so miss her lighthearted spirit and inspiration. The centre has developed other positions and the book closes on hers after she leaves. I wish her luck as she pursues her own art work and takes some time for herself and look forward to the classes she will continue to teach. Pauline became my friend over time and I’m a little sniffly about the fact that her energy will be gone, but she won’t be completely absent, as she is helping our friend, Dan Severance, segue into his new position as Ceramics Technician at the centre. She, herself, will join the Open Studio come May. Dan takes over Pauline’s departmental duties: making glazes, firing and fixing kilns, overseeing the Open Studios. In May, an artist-in-residence will set up shop in Pauline’s vacated studio and they will hold this newly created position for one year. Unlike Pauline’s job, they won’t have direct duties related to the centre, but will be given a studio and the use of the centre to create their own work. Big news, big changes.

Kamensek’s current work is shown below. He suffers from rheumatoid arthritis, which he has had since childhood and this sculpture depicts the agony he feels in his joints because of the condition. The musculature and sinews are hallmarks of Otto’s style and the individual heads represent pain felt in the areas where they are located. A very powerful statement; you cannot help being affected by it. Masterful! (Click on them for close-ups.)

Pauline has been working on the boxes below for her relatives, each of whom will receive one for Christmas. Her soft boxes are so lovely and the glaze job on these is the result of a combination of three different glazes. Each has a different design treatment. They’re exquisite and I look forward to taking her soft boxes class in the spring! (Click on them for close-ups.)

Gary Ruckman’s dear lady elephant is done!
Today, he was discussing what he wants
to do to finish it… He considered colored slip, oil paints, and a clear, matte Minwax seal. It’s a beautiful sculpture. Then,
right before our eyes, he made amazing
headway on a maquette for a horse
sculpture. (Click on them for close-ups.)

As for my own project, shown below, I can’t tell you how good it felt to finally place my bird house in the bisque area! Such relief… I last worked on it in May, after which I was stricken by illness and subsequent surgery. I’ve been back at the studio for some time now, but have had other irons in the fire. It has been taking up too much space in the damp room and I decided the year couldn’t end without making an effort to bump it to the next step. I don’t know whether it will be bisqued till after the new year, but it’s in the queue. (The cone-shaped base will be inverted, the lid will go over top, then it will be suspended with chains. I will get a metal fitting for the hole, to size, and to prevent squirrel interference.) I also worked on ten “Snowfall” tiles and rolled out three slabs for a new project I’m working on. The studio closes over the holidays and, during that time, I will be masking off some tiles with liquid latex, in preparation for glazing in January. I also plan to make decorative elements for a partially built paper clay obelisk. In addition, I will be creating the prototypes for a series of new tiles.

Dec. 22nd is the Winter Solstice. From then one, light re-enters the world, growing in intensity till Summer Solstice. I welcome the sun and look forward to it brightening our lives. It gets mighty dark up here in Canada and Vitamin D is our friend. My neighbor tells me a lantern festival will take place in Port Moody for the first time this year. The new year already holds much promise for us at the studio. I so look forward to it…